Back in the early 2000s, my brother and I developed a “practical fantasy” vision of bicycles.

Scott ran a bike shop. Over the years, conversing with many customers, he began to notice that everyone who cares about bicycles carries in their soul some ideal image of themselves within the world, and they project that ideal image onto their bicycle, onto themselves as rider, and onto some ideal riding scenario.

A gearhead is one such archetype. He owns the lightest, most advanced technology. He imagines the awed envy of fellow cyclists when they see how his bicycle is specced out and how light it is… Wannabe racers imagine themselves bursting ahead of their rivals… Wannabe couriers snake through dense traffic taking insane risks, scoffing at the certainty of gruesome injury and likely death… There are tweedy retro fetishists, transporting themselves from home to cafe to studio to bookshop. (Who me?) … Rugged all-terrain riders, carrying their survival gear into the wilderness… Ultralight nomads Eurail from country to country with their foldable, carrying only what fits in the knapsack… We defined a small set, but the full list is extensive.

Scott wanted to decode those practical fantasy archetypes, so he could equip the subset of cyclists he liked and served to fully actualize their fantasy.

Central to this practical fantasy vision was a goal: Transform the fantasist into an actual rider. Liberate the bicycle from its garage imprisonment, and liberate the cyclist from their skull imprisonment.

When I recall this vision, it is just one application of a general theory of design.

The same dynamic applies in every situation where a user of some designed instrument extends their own ideal being into the world through that instrument — enworlding and self-actualizing themselves — making themselves at home in a world they partially shape to their own ideal.

Reminder: Philosophies are one such instrument.